Statements for individual projects/website ambits
Drawn with charting tape, stickers, thread and paint, these works on paper are composed in three sections. An arrangement of 75 circuits link up and indicate a place for each participant in the group exhibition for which it was made. commonplaces
Silk brocade dot patterns are mapped into new relationships. Can a simple and familiar cloth pattern manufactured in Vietnam become one that makes us contemplate complexity or calmness? Is it possible to describe the matrix of a place or floor plan within the structure of these dot “nodes’? Clusters of friends or collaborators can be plotted here. Cloth reflects all manner of familiar histories and intimate associations that can be sequestered in a fold or stretched, stitched and painted into new formations of place and identity. drops drops explore obsessive dot surfaces. Fluid paint falls in tiny drops that collectively merge into a populated spatial field. Both oceanic and cellular, the action of repetition forms a mass. Patterns emerge as a floating force
These paintings of varying sizes are composed on the wall in clustered relationships inviting participation through comparison. They are built through repeated actions across a surface of prepared and painted cork material that is mounted on aluminum. Blurring bits of information, observed prior to focus and coalescence can be linked to other essential ingredients that have been subjects in my work such as language or genetic code. This series stems from my history of interest in formations and codes of common identity and the science of microscopically comparing and identifying minute difference. ledger
Ledger joins dictionary covers of multiple languages into one long (twelve foot) book cover placed on a shelf. The shelf is backed with mounted cut dictionary pages placed vertically in columns. Text is engraved into the surface of the covers and into a piece of felt to explore ideas about personal and universal measurements of loss and gain. panorama (from the 2005 installation titled MAP ROOM)

The 2005 installation titled MAP ROOM consists of two sets of sequenced works on paper made during a 2005 fellowship and artist residency at the Camargo
Foundation in Cassis, France. Previous interest in conceptual gene pools are redefined in these works which record daily observations and responses to the private work/live and community environments in Cassis.
Panorama uses the name of one the major buildings at of the Camargo
Foundation and follows its all encompassing perspective.
Using a surface of translucent paper and charting tape as a drawing material, a branching linear path was laid down to link the dynamics of the group of interdisciplinary fellows as they inhabited the physical environment. Panorama is a continuous drawing (62 feet) approximating the circumference of the artist’s studio at Camargo. Japanese kozo paper, divided into 42 segments (9 x 18.5 inches each) are now joined in paired couplings and sequenced for installation.
While stretching around the parameter of the room, the work offers complexity of marking that requires close and focused inspections of detail as one moves through its encircling form. The intention of panorama underscores the conceptual framework of an active space where ideas intermingle and creative works are in an open state of connection, change, influence, grafting and rearrangement. survey (from the 2005 installation titled map room)
The works on paper, titled survey , were made to recall project discussions conducted by all participants during an interdisciplinary artist residency in France.
They grapple with the problem of creating a mnemonic for the texture and intimacy of conversation.
The complete series is composed of 14 maps. survey #13 , matrix and #14, hybrid link the twelve participants into overall group configurations. Individual discussions are represented with red dots. survey # 1 through #12 are also subtitled with initials to denote which participant’s discussion is represented. In the detailed maps #1 through #12, the space of each discussion is remembered as a linear path within a dense yet translucent neighborhood of participating shapes.
The space of conversation or discussion is illusive. Perhaps we remember it as branching networks, labyrinths of body language, smells and sounds or through simple written notes. Here the space and form of discussion is imagined and projected as an intricate container and potential architectural plan.

SNPs/slips
Within genetics, just as with words, a slip and the meaning turns. SNPs / slips is a series of 21 pieces in total. These are found, altered works in every aspect.
The dictionary pages have been sliced like tissue revealing a pattern. The covers have been flattened, stitched and altered through the addition of my text composed from collected lists of written slips of speech. These slips are paired with genetic sequences called SNPs (single nucleic polymorphisms) places within the genome that vary from the standard such as a mutation, a mistake, a slip of order compared to the norm. webster’s lines
Sometimes the inner space I desire exists within found materials. The density of dictionary pages, repetition on repetition of tissue layers invites a slice. A cut through word-content results in the visual equivalent of a murmur or buzz. The murmuring/buzzing static of bits of re-arranged ink on paper suggests something else. Genetic banding patterns have the same abiding regularity containing little blips or stutters of irregularity, mis-alignments, mis-orderings, small mistakes or variants all marching along to a rhythm. All are copied and repeated, varied and stored in the mass. Nothing substantial happens here as things hum along except that these small disturbances repeat themselves, magnify, evolve and eventually become part of everything. Within genetics, just as with words, a slip and the meaning turns .